Unbroken: A World War II Story of Survival, Resilience and Redemption by Laura Hillenbrand
My rating: 5 of 5 stars

Easily the most compelling WWII narrative I've ever read. The story of Olympic track star Louie Zamperini, from Torrance, CA, starts out slow, but as other readers have noted, it is indeed worth staying with the book -- after the first 100 pages, the story explodes with details about Zamperini's stint as an Air Force bombardier, flying in the notoriously dangerous B-24's before being shot down and lost at sea. The details of his harrowing 46-day-journey on the ocean without food or water, where he and his pilot are the only survivors, are barely outdone by the twenty-seven months of horrific starvation, torture, and vicious beatings at the hands of the infamous psychopathic Japanese corporal, Mutsuhiro Watanabe, referred to as "the Bird" by his captives.

Carefully and compassionately written, Hillenbrand's narrative never veers into melodrama or accusation; instead, she faithfully documents the details of Zamperini's life, including his family's steadfast belief that he was alive, even when the war department declared him dead, and his struggles with PTSD and alcoholism during a rocky return to civilian life after the war ended. I found some of the details in this book so amazing and, in parts, horrifying, that I read a number of passages aloud to my husband and daughter. Most unbelievable to me was the number of U.S. airmen lost due to aircraft accidents, engine failures, gas leaks, oil pressure problems, and faulty landing gear. In WWII, Hillenbrand writes, "35,933 AAF planes were lost in combat and accidents," and "in the air corps, 35,946 personnel died in non-battle situations, the vast majority of them in accidental crashes." It was a dangerous time to be an air force recruit, and for those who survived crashes in the ocean or on land, the horrors were just beginning if they were unlucky enough to be captured by the Japanese who, at that time, were indoctrinated into believing that POW's deserved to be beaten, starved, and enslaved, and ultimately executed in "kill-all" orders at the first signs of American invasion.

Everyone should read this book; it simply and clearly describes the horrors of WWII without sensationalizing or amplifying the details. The ghastly events that American POWs experienced during WWII become achingly vivid and real, which makes Louie Zamperini's trials and those of his fellow surviving servicemen, more compelling and unbelievable because, as Hillenbrand's book illustrates, their stories are true.

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Podcast: How to Pitch the Media - PaulaMargulies

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The Writers’ Salon: When It’s All About the Writing

A couple of months ago, I entered a Red Room (redroom.com) writing contest and won free admission to the USC Writers Conference. Since this was the first annual writers conference for the university, I correctly assumed that it would be small (it was) and that most of the attendees would be USC students (they were). Even so, it was nice to spend some time at a conference as a participant rather than a speaker, and I enjoyed meeting the attendees and hearing the presentations, especially the keynote by Red Room founder and CEO, Ivory Madison.

Madison’s talk focused on the amount of time writers spend on peripheral writing activities versus the time they spend actually writing. As Madison pointed out, writers spend a lot of time on activities associated with writing that don’t involve creating any words. For example, she explained that talking about writing is not writing, reading about writing is not writing, blogging or perusing social media about writing is not writing, and yes, attending writers’ conferences is not writing. The only activity that can be considered writing, she said, is sitting down and actually putting words on the page.

One of the activities writers spend a great deal of time on is meeting in groups to critique each other's writing. Meeting in critique groups, Madison pointed out, can be useful for helping to revise a finished work, but it’s still time spent not writing. Although writers need feedback on their work, Madison recommends that they wait to do that until after the first draft of a work is completed.

Madison does acknowledge that writers are social animals, and that group energy and camaraderie are important to writers in helping to provide inspiration, keep each other motivated, and lend a shoulder to cry on during times when the writing gets tough. Although she doesn’t recommend critique groups during a work’s creation, she advocated belonging to what she calls writers’ salons. These are groups of writers who get together for a specified amount of time to do a limited amount of socializing, but whose main focus is to write (she runs a number of these for writers in the Bay Area).

I have personally been a member of some writers groups and found them invaluable when I was writing my first novel, Coyote Heart. Although the meetings did take up some time (my group usually met once a week for about 4 hours), I found the feedback and the interaction extremely helpful to honing my work. But Madison’s point about activities like critique groups taking time away from writing struck home with me. Though the feedback in these groups was useful, why did I have to get it as I went along? Couldn’t I finish a book and then work with a critique group, as Madison suggested?

While mulling this information over at the conference, I discovered that a number of the students there were also big fans of writers’ salons. One woman said that she was in a group that met weekly and found it productive and stimulating. Another said that her salon met online via Skype “We all just sit there and type,” she said. “All you hear are keys clicking while everyone gets the work done.” All of the attendees who are salon members agreed that they were the best way to get work done and still have a social connection with other writers. And all of them said that they were willing to wait until their books/works are completed before having anyone edit or critique them.

Since I had recently begun work on a new novel, I decided to try the writers’ salon concept once I returned home from the conference. There are a couple of organizations that run salons here in San Diego (San Diego Writer’s Ink, for example, runs weekly open writing sessions that cost $5 each to attend). But I decided to start my own unpaid group; I ran ads on Craigslist and in the newsletter of a friend who runs writing workshops and, within a week, was able to form a group of five members that has been meeting for two hours once a week.

What have I learned since starting a writers’ salon? First, it’s a lot easier to set up than a regular critique group. Most of the critique groups to which I’ve belonged required that the group members wrote in a similar genre (for example, all were novelists or short story writers). They also required that everyone wrote at a somewhat decent level, had the same level of comfort and experience with giving critique, and were committed to generating work every week for the group to review. Finding a group that meets all of these criteria can be a daunting task, and when a member or two drops out, groups often fold.

None of that is necessary in a writing salon. The salon concept requires that everyone be there to write, but what each person writes is up to him or her. So, in our salon, we have novelists, short story writers, poets, and song writers. Our group liked the idea of starting out with a ten-minute writing exercise, but after that and a little bit of chit-chat, we get down to work and write for a solid hour and a half (we usually set a timer). After that, the group is free to discuss the writing, share ideas, questions, and concerns, and then disband until the next meeting.

At first, I was a little leery of the notion of writing with a bunch of other people sitting around the table, but I’ve found the group sessions to be amazingly energizing and productive. And the best part of being in a writers’ salon is that there is little-to-no drama. Since we aren’t there to critique each other’s work, there is none of the hurt feelings or resentment that often comes with honest judgment of what we’re each producing. If any of us wants his/her work critiqued, we can easily arrange that as a side option with our fellow group members or with beta readers and/or professional editors.

So, I’m glad I entered that Red Room contest and especially glad to hear what Ivory Madison had to say. If I hadn’t entered, I would never have met the members of my salon group, who I’ve come to treasure, or made as much progress on my new novel, which is moving along nicely.

Why the Rush? Make Sure Your Book is Ready Before You Put It Out There

Ripeness is all. – King Lear, Act V. Scene II., William Shakespeare

In a recent interview at the blogsite On Fiction Writing, OFW editor Renee Miller asked me to name the three specific things a writer can do to ensure success (you can read my response here). Even though my job is to market books, my answer has little to do with marketing.

We publicists prattle on an awful lot on our blog and social media sites about the importance of building a platform. We urge authors to develop their celebrity and expertise by giving talks, teaching classes, and writing articles. We push authors to set themselves up as experts in their fields, advising them to create web and blogsites and spend hours of precious time introducing themselves via social media.

But if a book isn’t good, no amount of platform-building is going to help to ensure its success. Many of the samples I receive from authors who believe their work is ready for publication are sadly lacking in character development, structure, or content, and a good majority have not been edited. Some have inappropriate covers, often designed by the authors themselves, or by those who have little experience in cover design. These books, no matter how much the author works the marketing side of the equation, will never be successful.

My question to these authors is: Why the rush? Why be in such a hurry to put out work that has not been properly revised and correctly packaged? And why in heaven’s name would you want to spend your hard-earned money publishing a book that has never been edited?

My sense is that many authors yearn to follow the paths of those who have self-published and are making a living selling their books. The possibility of earning income, combined with the ego-stroke of being a published author, can be tantalizing, creating an anxiety that results in a rush to release work before it’s ready.

But authors should remember that many of those who are successful have worked a long number of years to get to this point in their careers. And the majority of them have taken the time to make sure their books are polished and ready before they are available to readers.

It takes a long time to write a book. And, if done correctly, it can take even longer to revise it and have it edited and properly formatted. But authors should ask themselves: Do they really want to throw a book out there that isn’t ready and risk negative feedback and poor sales?

Or, is it worth it to wait, giving the book the necessary revision, editing, and design that will ensure its success? Only the author can make this decision, and it is a crucial one.

The Best Timing for Book Publicity

To everything, there is a season, and after many years of helping authors publicize their work, I’ve learned that some seasons that are better than others for certain aspects of book promotion. Here are my recommendations on timing for book publicity (note: this is general advice based on my experience as a publicist; your experiences may be different, depending on the kind of book you’ve written, whether you are traditionally or self-published with ebooks or print versions (or both), and the specific media and venues you plan to approach):

1. The best time to promote a new book: the first 6-8 months after its release
The first 6-8 months that a book is out is the best time period to promote it, because that is when authors are most likely to receive yes nods from booksellers and members of the media for signings and interviews (except for those topics that tie in with breaking or hot news topics: then an older book can be considered timely). When I work with new clients, I tell them to plan on spending the majority of their promotional time, travel, and budget during the first 6 months after release; after that, I recommend they get back to work on their next books.
2. The best time for book signings and tours: spring, summer, and early fall
Booksellers are more apt to say yes to signings in the spring, summer, and early fall, especially in those areas of the country where winter weather might be an issue. Most bookstores don’t want to host authors during the holidays; they have enough traffic in their stores at that time. And many of them don’t begin to set event dates on their calendars until after the start of the new year.
3. When to begin calls to book spring, summer and early fall signing tours: January – March
See #2 above – most booksellers start filling out their spring, summer, and fall schedules right after the new year. Big name bookstores will sometimes book signings months in advance, so be prepared to start early for those venues that are highly sought after.
4. The worst time for book tours: late November – early January
Winter is quiet for booksellers, but it can be a good time for presentations to clubs and professional organizations (although many organizations set their schedules early, so plan to start calling at the beginning of the year to obtain speaking spots).
5. The best time to hold giveaways for new books: just prior to or immediately after release, and ongoing
To help drive initial reviews and buzz, giveaways are best held just before a book is released or immediately after its release date. Some reader sites have specific windows for giveaways (Goodreads, for example, allows authors to give away prerelease copies of their books, but will only allow giveaways for published books that are within six months of their release dates), so check the guidelines for timing. Ongoing giveaways are good, as well, especially if you are an author with a number of books and can give away some titles to help drive sales with others.
6. The best time to book conference speaking engagements: 6 months -1 year in advance
Those authors who would like to give presentations or workshops at conferences should plan to do so early – most conferences schedule presenters a year in advance, and some are even booking two years ahead. If you know you want to speak at a certain conference, check the website for dates when calls for presenters begin and note deadlines for submitting applications.
7. The best time to seek jacket blurbs: 3-4 months prior to publication
Most authors who are traditionally published will have help from their editors on soliciting blurbs for their back covers, but self-published authors have to do this work themselves. I recommend contacting those whose endorsement you seek at least 4 months prior to publication. Be considerate to those you’re approaching and submit all or a portion of the book (this can be done in manuscript form) with enough time for the endorser to read what you’ve sent. And remember to acknowledge the generous gift of a positive blurb with a thank you afterward.
8. The best time to seek reviews: ongoing, but good to solicit some 3-4 months prior to publication, so that they are available when the book is released
Again, authors who are traditionally published will usually have help from their publishers with initial reviews, but self-published authors will have to handle reviews themselves. Traditional publishers will usually prepare advance review copies (ARCs) and send them to top-tier reviewers (New York Times, Publishers Weekly, Kirkus, Booklist, Library Journal, etc.) four months prior to publication. Self-published authors can approach reviewers (generally, mid-tier and online) once their book is in printed form or, in the case of ebooks, when the formatted files are available.
9. The best days to pitch news producers and editors: Tues/Wed/Thurs
When making publicity calls, I’ve found that the best days to actually reach news editors or producers fall during the middle of the week. Editors and producers tend to be busy or unavailable on Mondays, and Fridays seem to be the most difficult days to reach media people.
10. The best time of day to pitch radio and TV morning show producers: 6 – 8 a.m.
If you plan to pitch morning show producers, be ready to get up early. Most producers are in the studio well before 6 a.m. on days that shows are taped, and many of them will be unavailable once the show begins. If you miss a producer, be sure to leave a voice message and follow up with email info (press release, author photo, and book cover art). Be aware of time differences if you’re calling cross country, too.
11. The best time to pitch media for event coverage: 3 weeks prior to event date
This is my own personal preference, but I like to give print media the most lead time for feature stories (about 3-4 weeks). If you are calling magazines, their lead times can be quite long – from 3-6 months in some cases – so research their submission guidelines and plan accordingly. I usually make calls to radio and television producers about 2-3 weeks prior to events (I like to set up my clients’ events first, usually booking 6 months out, and then make media calls about 3 weeks prior to each event to help drive traffic to it).
12. The best time to send out calendar listings: 2 weeks -1 month prior to event date
Many print and online publications will let you post listings on their websites. But check the guidelines for when listings must be done – most publications want them 2-4 weeks in advance of the event date.

Finally, many authors ask me about the best times to schedule their social media posts. For those who do a lot of posting on different sites, I suggest using a management dashboard like Hootsuite to schedule updates. As to specific timing, in his research on blogging, Hubspot's Dan Zarella gives the following guidelines:
-The best day/time to post on Twitter: Friday at 5 p.m. EST is considered the most retweetable time of the week.
-The best time for readership on blogs: early morning.
-The best days for Facebook sharing: Saturday and Sunday.
-The best time for Facebook sharing: around 9 a.m.

On Fiction Writing- Interview on Book Publicity

This week I had the pleasure of being interviewed about the ins and outs of book publicity by editor Renee Miller at On Fiction Writing. You can read the entire interview here: http://onfictionwriting.com/interview/Paula-Margulies/35/

Stop Hiding Behind that Laptop! How to Use Events to Get More Media Coverage

Okay, we’ve all read the success stories about big-name authors who have gone the self-publishing route and are making a living selling their books. These authors appear to have it made, as they pump out books and chronicle their sales on blog and social media sites. Writers flock to these sites, eager to hear news of the demise of traditional publishing and the latest tidbits about sales numbers. To new authors who yearn for similar success, the path certainly appears rosy and paved with a certain amount of gold.

But what many new authors don’t realize is that a good number of successful self-published authors have a long list of books they’ve spent years writing and promoting. Some of these successful authors have, at one time, been traditionally published, in addition to being self-published. And many of them can describe long days and evenings spent pressing the flesh at book signings, selling their books out of the trunks of their cars and at conferences and street fairs, building and growing social networking communities, and doing the hard slog of developing a following of readers who will eagerly buy the next book they have coming out.

For those who are new to the game, especially you first-time authors, things are a little different. There is no built-in fan club anxiously anticipating your first book. Most brand new writers have yet to do the hard work of building that base, reader by reader, reviewer by reviewer, social networking follower by follower.

Despite not yet having a following, many first-time authors will call me and say, “Hey, I want media coverage for me and my book.” But, here’s the thing: unless you are a celebrity or subject expert, or have a built-in following of readers, you’re not likely to get much interest from the media because of your book alone.

To be successful with media producers, editors, and reporters, you have to offer them news. And, no, just the fact that you – a first-time author with no following – have written a book, is not news. There are 300,000 other authors each year who also have written books and are calling these same editors, reporters, and producers.

So, tell me: What makes you special? What makes you stand out from all the other first-time authors who have published a book this year? And what is newsworthy about you and your book?

Authors should take some time to reflect on these questions and figure out what they can say about themselves and their books that is of value (i.e., is news) to the news media. Most of the time (especially in the case of fiction), there isn’t much to say. The book may be good, the author may be a nice guy or gal, but that’s not enough of a newsworthy pitch to give to a producer or a reporter.

So, how do you break through if you’re a newly published author?

There are a number of options out there for authors who want to build a platform, and many of them are oriented around using online videos, web and blog sites, and social networking forums to establish expertise and build a following. Networking online is an important part of platform-building, and all authors should still pursue these outlets as part of their promotional plans.

But having an online presence doesn’t always translate into media coverage. So, in addition to building their online networks, I recommend that authors create news around their books by scheduling speaking engagements at bookstores, libraries, professional organizations, or other targeted venues. Why? Because when you have an appearance scheduled, you and your publicist now have a local news event to pitch. The fact that someone has agreed to let you give a presentation gives you credibility and allows the media representative who is reporting on you and your book to give readers, viewers, or listeners a place to go to see or hear you after an interview.

Now wait a minute, some of you may say, we’ve heard that book signings and speaking engagements are a waste of time. They’re a lot of trouble to set up, promote, and even get to, and often no one comes to them.

Well, sometimes that’s true – you can’t always predict who will show up for an event, even if it’s well-promoted beforehand. But, at least with an event, you have something to submit about yourself and the book to the local newspaper event calendars. You have something (besides your platform and the book) to write about in a news release that can go out on the wires and appear in search engines and on all your social networking sites. And you have something, other than the fact that you wrote a book, to pitch to a newspaper/radio/television editor, reporter, or producer. In other words, you have news – the fact that you are appearing somewhere – to share.

So, why do authors resist the idea of making appearances to promote their books? Some do because it can be time-consuming and expensive to set up speaking engagements. Many authors don’t want to take the time to book the event, print promotional items, create and run ads, prepare presentations, and then travel for an appearance. Other authors resist because they’re shy, or they have issues with speaking in public. Some don’t like the idea of having to take time away from their writing. And many resist because they stubbornly believe that all it takes is the right pitch and the media will magically say yes to a feature article or radio or TV spot.

But here’s something for authors to think about: even big name celebrities in entertainment and sports have to go out and do the appearance drill. Even though they are known to millions, teams that win the Super Bowl, actors with a new movie out, and singers with new CDs to hawk, all make appearances on late night television shows and at movie premieres, award ceremonies, fundraisers, and community events. Why? Because those events are necessary to promote whatever it is they’re selling. Even though they’re known commodities, the public’s attention span is short; most celebrities won’t be known for long unless they get out there and smile for the cameras.

So, before you call a publicist and ask for media coverage, think about getting out from behind your laptop and scheduling some book signings and speaking events. If you feel you don’t have much news to share, create some by scheduling appearances and using those events to help convince the media that you are worth an interview.